That Paranoid is Black Sabbath's best album, is without doubt. Even discounting the gigantic impact it had at the time and the influence that is still felt in heavy metal today, the material is as strong as it ever got. With the epic War Pigs, the relentless Electric Funeral and Hand of Doom and the jazzy closer Fairies Wear Boots, this album has many highs, and doesn't go wrong at any point. Absolutely essential.

Released not a year after the classic Paranoid, Sabbath's third record Master of Reality was an even heavier, more relentless and unforgiving affair than its predecessor. Ironically, some of its themes are supportive of theological beliefs, but with the doom-inspiring riffs Iommi created on Sweet Leaf, Children of the Grave and Into the Void, there is really no question about what is this group's heaviest record. Master of Reality took Paranoid a step further, and hasn't lost a fraction of its impact today.

Together with Rainbow's Rising and Black Sabbath's Heaven and Hell, Dio's Holy Diver is one of the three peaks of the little man with the big voice. A stellar record for 80's metal, with powerful bluesy guitar leads next to Dio's dramatic vocal performance.

As strong as Powerslave might be, Number of the Beast is the finest definition of the classic Maiden era. Killer riffs, fantastic solos, galloping bass lines, a wicked first performance by Dickinson and very solid last one by Burr create an album that is still as powerful and exciting today as it was nearly 30 years ago. And yeah, Hallowed Be Thy Name.

The seminal, groundbreaking progressive rock album that King Crimson have never managed to equal. The sheer madness of 21st Century Schizoid Man, the soothing dream that is I Talk to the Wind, the haunting, towering centrepiece Epitaph and the majestic, lyrically and vocally brilliant title track are four masterpieces. Moonchild is the infamous knack in the album, interesting but too long and unfocused. Nevertheless, In the Court of the Crimson King is the single most important progressive album ever made, and still one of the genre's finest accomplishments.

Mixing acoustic and electric in an EP recorded in just a couple of days, Alice in Chains were in fact just messing around with some ideas when creating Jar of Flies. The results are outstanding to say the least, with the three first songs forming the best part of the album. Rotten Apple and especially Nutshell perfect that beautiful depression AiC had since some time had copyright on, and I Stay Away is the album's most powerful piece, featuring one of Staley's best vocal performances in his career. You can't really go wrong with Jar of Flies. It is not as consistently heavy as Dirt, but neither is it as light as the band's first EP Sap, instead making for a perfect blend between the two.

They've topped it on a few occasions since, but Black Sabbath's epynomous debut remains a milestone in rock music. The very foundation of heavy metal was laid here, and though the heavy blues-rock influence of the band's earlier days still very much lingers, the first metal cuts are already amazing. The title track is still, after 40 years, everything that embodies the message and purpose of this movement. It's strange how this particular sound came to life: if Tony Iommi had never lost part of his fingers, this record, and Sabbath themselves, for that part, would have sounded quite different. They wouldn't have been able to develop as well as they did. The judgement is ever simple: if you like heavy metal, and this is not in your collection, you should be ashamed.

Storming in came the tiny man with the tall voice, as he went on to save Black Sabbath with tales of dragons and witches. Heaven and Hell is not only a fantastic comeback, but also remarkably found its place in the top 3 albums this legendary band ever put out. Iommi and company sound full of renewed energy, and nobody really should have had any reason to miss dear Ozzy after this was released.

The last superb record to come out of Sabbath's classic era, Sabbath Bloody Sabbath revitalized a sense of creativity in Iommi's writing, which had been showing some signs of detoriation with the nevertheless great Volume 4. Conjuring up the title track in a creepy dungeon, the rest of the group's fifth album swiftly followed. It also marked a more experimental direction for the band, working with synthesizers and such. While this direction would eventually distance them from their work and lead to their downfall at the end of the 70's, it worked miracles here. With prime cuts such as Sabbath Bloody Sabbath, Spiral Architect, Killing Yourself to Live and of course Sabbra Cadabra, this record is an overlooked classic next to Sabbath's famed first three.

The first and second best of what is one of the greatest consecutive album streaks in the history of metal, Human marked the beginning of Death's golden period. By 1991, Chuck Schuldiner had developed his writing ability to the point nearly everything he touched turned to gold. This, combined with the band's most talented line-up up to that point, including Paul Masvidal on guitar and a far more noticeable rhythm section consisting of Steve DiGiorgio and Sean Reinert, made sure all the pieces were set. Do not be fooled by the album's length either, because every second on Human is worth your time. Chuck made it so good he could only top it once.

Arguably Death's best album, Symbolic had the seminal death metal band move into their final period with notable progressive influences. Superior songwriting, masterfully crafted riffs, and some of Schuldiner's greatest lyrical and vocal work made this album into Death's finest hour.

Though it doesn't say that much, Individual Thought Patterns is altogether the least impressive of Death's Final Four. Once again, half the line-up was replaced, with only bassist Steve DiGiorgio and of course Schuldiner himself coming over from Human. The addition of guitarist Andy LaRocque and drummer Gene Hoglan brought in the new talent, both of them proving more than capable of handling the task. With another rock-solid ensemble at its core, Individual Thought Patterns became yet another essential piece in Death's quality discography.

Chuck certainly knew how to go out with a bang. Death's last work The Sound of Perseverance is also one of their most impressive records. The completely new formation that replaced Symbolic's line-up does not let down here, but it is as always Schuldiner who amazes the most. Employing a higher shriek for his vocals, he leads the way through some of the group's most progressive and unyielding material, including a cover of Judas Priest's Painkiller, which closes the set. An amazing last statement from the Father of Death Metal. Rest in Peace.

Iron Maiden's debut certainly showed that they were great to begin with. It is clearly the rawest of all their albums, which is a combination of Paul Di'Anno's raspy vocals and the fact that the production wasn't very good. This seems to suit the style of the album, however, as it showcases lots of this raw energy, evident on songs as 'Prowler' and 'Running Free', which, while they may not be Maiden's best, they are a hell of a lot of fun to listen to. The album did already contain hints of the melodic side Maiden later more strongly developed, for example heard in 'Remember Tomorrow' and 'Strange World'. High point is of course the epic 'Phantom of the Opera', which is truly an achievement for the band in their young days.

Simply put, Iron Maiden is outstanding for a first output, and tons of fun to listen to. It may well be one of metal's finest debuts, and set a standard for the British New Wave of Heavy Metal.

While not among his most ambitious works, Shadows Collide With People is perhaps Frusciante's most coherent effort overall, and features some of the most passionate writing and performing of his career.

Selling millions of copies, Throwing Copper is not only Live's most popular album, but also by far their best. The popular singles Selling the Drama, I Alone, Lightning Crashes and All Over You, all having become essential 90's staples, are among the record's best moments, but careful listening to the entire thing will reveal a great find of hidden gems. Especially The Dam at Otter Creek, an unusually dark song for the group, the epic Pillar of Davidson and closer White, Discussion count among Live's very finest. Sadly enough, the sudden success of Throwing Copper brought the band so much mainstream attention that it eventually became their downfall, failing to live up to the reputation of this peak moment.

Nirvana, and more specifically, Kurt Cobain, never made the album they had wanted to make. Bleach was too raw and underproduced, Nevermind was the fame catapult Cobain wasn't at all looking for, and though In Utero is often credited as the group's finest studio effort, with good reason, it still was far from perfect. With their Unplugged performance, Nirvana realised what it had been wanting to realise all the years before it. The angst in Cobain's voice is haunting, and carries the record for a great deal, but the beautiful, and sometimes equally haunting instrumentation is full of emotion and atmosphere just the same (the addition of cello doing the extra trick). The set list is perfect for the occasion, and as such, MTV Unplugged eventually became the essential Nirvana album.

More ambitious than their more revered work Blackwater Park, Still Life is Opeth's most accomplished work. Not only is the tragic concept that forms the backstory of the album very well-written, it never becomes too blown-up or unbelievable. The musical aspect that accompanies the storytelling is nearly flawless. The band's signature light vs. heavy style has always had one major pitfall: it seems to be meandering between the two for no particular reason sometimes. Still Life completely avoids this problem because of its concept. During the sad, reflective moments in the story, Akerfeldt's tender singing is fittingly accompanied by acoustic instrumentation (Benighted), while his demonic growling is perfect for the angry, aggressive ones(Serenity Painted Death). The two songs that combine these two elements best are epic opener The Moor and the gorgeous Face of Melinda, both easily counting among Opeth's very best. Still Life is one of those rare occasions where a concept album succeeds as a whole, but also builds on the sheer strength of its individual songs. Haunting, thrilling and dynamic, Still Life is the essential Opeth album.

Pearl Jam at both their loudest loud and softest soft. With menacing instrumentation and actual screams from Vedder next to some of the band's most subtle work, Vs. is an absolute winner. Almost a shame Ten is so fantastic, because this is definitely not a record to be overlooked.

You have to give Dark Side of the Moon your full and undivided attention before its brilliance can truly sink in. While moments such as the popular Money and Time have become classic rock staples and are the most recognizable tracks here, they work even better within the context and concept of the album. The creativity used to produce the trippy On the Run and wrenching The Great Gig in the Sky is boundless, and when at first these tracks will be underappreciated, the flow they provide for the album is later realised to be nothing less than essential. From the opening heartbeat of Speak to Me until the last fading seconds of Eclipse, Dark Side of the Moon is, over and over, again and again, a real journey, full of powerful emotions, stunning lyrics and musicianship that only the brilliant mind of Pink Floyd could provide at the height of its power. Coming only shortly after their magnum opus Wish You Were Here, this album is easily the group's second most seminal piece of work.

Rainbow is a very much underrated band. In their early days, that is. Ritchie Blackmore and Ronnie James Dio made an excellent pair musically, and put out a classic hard rock album with Rising. The only thing that prevents it from being a true classic is the length of 33 minutes, which ultimately falls short. However, it is most certainly worth a listen because of Dio's powerful vocals, which are on his best here, and Blackmore's phenomenal guitar skills. Too bad that these two men's egos couldn't be in one space, they could've made so many good stuff together.

AC/DC at their rawest & loudest, and more importanly: with a living, yelping and screaming Bon Scott. If You Want Blood You've Got It proves one thing very well: These boys were the purest incarnation of loud and true rock 'n roll in 1978. This was AC/DC's heyday, and they want you to hear it.

Alice's is back in business as Black Gives Way to Blue delivers vintage heaviness, vocal harmonisations and songwriting like the boys have never been out. Matching Staley is of course impossible for anyone to achieve, but newling DuVall seems to be the man for the job, and while he doesn't even try to imitate his predecessor, his tone and range are very similar. Standard but great rock songs (Check My Brain), simple yet effective ballads (Your Decision) and pounding heaviness (A Looking in View), Black Gives Way to Blue really has everything we could possibly wish for after Staley's unfortunate passing. Less bleak than classic Alice, but perhaps even heavier than the likes of Dirt, the album is both fresh and nostalgic, and surely delivers the goods.

Though not as easily accessible as its predecessor, Alice in Chains' newest record is a very satisfying continuation of the sound that they established on Black Gives Way to Blue. The slower, relatively sludgy nature of these tracks makes them longer on average, which is only fitting, but the album's total length can be overbearing. It's an issue that could have been avoided, but does not take away any credit from the band's abilities. In fact, The Devil Put Dinosaurs Here only strengthens their reputation as a group that never truly disappoints.

Pretty much all mainstream rock records tend to, well, suck. We're just so lucky most rules have an exception. With Blackbird, Alter Bridge have done away with the criticism that they were a complete Creed-clone, taking a far heavier approach. The record is still home to those big choruses that are perhaps mainstream's biggest trademark, but the songwriting is coherent, catchy, and, as cuts such as Ties That Bind and the title track show, even amazing at some points. Blackbird won't have to be anyone's guilty pleasure, and just maybe you'll even get your mom to like it.

Maybe it is because I hadn't heard any of Amon Amarth's earlier albums when I listenend to this, but this one hell of a fun ride. That the band has perfected their style is easily assumable, as all factors that make a record in this genre great are there. The melodic guitars are fantastic, the drums are pounding, and vocalist Johan Hegg roars about like a true viking more than I've heard any other viking metal vocalist do so far. On top of that, the album contains some very good guest performances: a guitar solo by Roope Latvala (CoB), guest vocals by Lars Goran Petrov (Entombed) and the marvellous cello work of Apocalyptica, which is the most unique and best of the three perfomances. Twilight of the Thunder God is worth your while, especially if you're in search of simple fun and adrenaline.

Often seen as a major dissapointment after Sabbath's first three classic albums, Volume 4 may not be the best work from the metal-pioneering act, but in the end, it yields its own specialties and sound. Some experiments, like the ballad Changes, prove to be a huge failure, but with the consistent classic 'Sabbath' feel in others such as Supernaut, as well as the creativity displayed in the opener and closing tracks, this fourth record is definitely not without power. Let's not forget the would-be-title-track either, the classic Snowblind.

Sabbath's first six have always been adored as their classics by the hardcore fan base, but although the last effort of this streak, Sabotage, was still pretty good, it had also been the most inconsistent record by the group so far. Given prime Sabbath cuts such as Hole in the Sky and Symptom of the Universe, there is enough to be enjoyed here, but one shouldn't overlook the dip Sabotage takes towards the end, both Am I Going Insane (Radio) and the strange Supertzar start dabbling into areas Sabbath need not dwell. This is still an essential record for any Sabbath fan to own, but it is, without doubt, the worst of their famed six.

This excellent one-off collaboration is a rockin' record that effectively combines elements from both Zeppelin and Whitesnake into an old-school sound. Page is churning out some of his best work since Zeppelin, and Coverdale seems to be having equal fun, although he has trouble not imitating Robert Plant.

Such a step up from Scream Bloody Gore, Death's second album Leprosy truly developed their signature sound. Schuldiner put together an actual band (he recorded everything on Scream Bloody Gore himself, except the drums), and the difference is remarkable. While not the most talented formation Death would ever see, Andrews' fast, far more impressive drumming and the addition of a real second guitarist in Rozz, who, although a bit overshadowed by the man who made it all happen, still manages to hold his own when necessary. Leprosy packs much more technicality, and even a touch of melody, which was a much needed change. One of many prime moments in Death's quality career.

Sacrificing brutality for flow and technicality, Spiritual Healing may not carry as much punch as its predecessor Leprosy, or any of Death's last four albums, but still manages to hold its own. This is also where Schuldiner started adressing social and ethical themes, once again implementing new things into what would eventually become the band's signature style. An often overlooked album next to their more impressive work.

It's quite heavy on Keith Emerson's keyboards, it doesn't feature Greg Lake's awe-inspiring voice enough, Carl Palmer never gets a real chance to shine except on Tank; yes, the debut from prog titants Emerson, Lake and Palmer is flawed in some senses. It is however also an excellent display of masterful musicianship, even if this comes in the form of bombast and (too) lengthy instrumental pieces. The main problem with Emerson, Lake and Palmer is that the balance sometimes isn't quite right, but as with many records in the genre, the virtuostic craftsmanship makes up for it. The Barbarian, Take a Pebble and the popular Lucky Man are all impressive, and any 70's prog fan has got to love this.

In the wake of Rumours, Fleetwood Mac were emotionally drained, but also had a reputation to live up to. The result is the ambitious, lengthy Tusk, which could not have been anything but a dissapointment. The main problem here is coherency: the album feels as the solo outings of Buckingham, McVie and Nicks put together, without any sense of overall structure. While this kind of writing was a part of what Rumours so wonderful, Tusk does not really benefit from it at all. However, despite any of the songs even coming close to what had been done 2 years earlier, there are no bad tunes on here, and the likes of Sara, Storms and the title track have found their way into the classic material of the group.

The perfect compilation for any casual fan of the group, Genesis Platinum Collection is particularly aimed at the mainstream audience, but also may interest them to look further. More than half of the space here is logically devoted to the band's commercially successful period with Phil Collins as a lead singer, and contains all the classics from that era, but a surprising lot of effort has been made to interest those who never even knew Genesis made music before the 80's. Even though classics such as Watcher of the Skies and Dancing With the Moonlit Knight never made it here, the selection of tracks from Genesis' classic era is very representative, spanning all the way from Trespass to The Lamb Lies Down on Broadway. And really, you've got to admit: some of those infectious 80's and early 90's cuts such as Land of Confusion, I Can't Dance and Jesus He Knows Me are still great songs.

While it can in no way whatsoever be held up to classic Genesis, Invisible Touch is, with its well-crafted pop songs such as the title track, Land of Confusion, In Too Deep and Throwing It All Away, a great record its own right. The attempts at making the album more appealing by adding some of the group's earlier progressive stylings in Tonight, Tonight, Tonight and Domino may seem like a half-hearted bid to satisfy hardcore prog-era Genesis fans, giving them another reason to completely dismiss Invisible Touch, but the truth is: this is an essential 80's staple and one of Genesis' finer post-Gabriel outings, despite pop almost completely having driven out the prog.

It would be impossible to argue this album is not a unique piece of music, because it most definitely is. The apocalyptic concept is brilliant, but is not carried out flawlessly as some like to think. Some sections, like the spoken words and violin/guitar part in The Dead Flag Blues, the climax in East Hastings and the main build-up Providence are nothing short of amazing, but one cannot help but feel there are parts in these 63 minutes that are redundant. F#A#Infinity is ambitious and shows marvellous display of calculated, serious musicianship, but all the while it has some parts that tend to drag and pull the listener out of the atmosphere in intends to create. This record has potential like no other. It could have been a masterpiece. It could have been.

Maiden's second effort Killers is a more refined affair than their debut, mostly in terms of production, but also in style. Where Iron Maiden had rawer songs like 'Running Free' and 'Sanctuary', these now have been replaced by more polished efforts. The band still hadn't lost their rawer sound completely, however. This would take place after the leaving of Paul Di'Anno, who was very important in creating their early sound. The man is just a lot of fun to listen to, for example on 'Wrathchild', 'Murders in the Rue Morgue' and 'Killers', all true early Maiden classics. Killers is also more consistent than its predecessor, but then again carries a few weaker songs like 'Drifter'. Though this may be true, it does not even ruin the listening experience, as all songs are still great fun, and the album is highly recommended even if you're not a Maiden fan, or if you always thought Mr. Dickinson used an exeggerated vocal style.

With their 6th album, Iron Maiden changed their style slightly, leaning towards an experimental side of things, something they would eleborate further on Seventh Son of a Seventh Son. Guitar and bass synths were added, giving their sound a futuristic touch, which coincides with the album's theme perfectly. The synths gave a new edge to Maiden signature sound, while not dominating the music.
Opener 'Caught Somewhere in Time' applies this new feature perfectly, having guitarists Dave Murray and Adrian Smith displaying one of their best dual guitar harmonizations, something that Maiden has become known for. Overall, Somewhere in Time has a refreshing sound and contains often overlooked classics such as 'The Loneliness of the Long Distance Runner', and 'Stranger in a Strange Land'. Also a highlight is the accessible 'Wasted Years'. Harris' epic 'Alexander the Great' is also strong, be it not so much lyrically as instrumentally. Somewhere in Time is often overlooked next to albums such as Number of the Beast and Powerslave, but is actually one of Maiden's finest, and deserves to be in anyone's collection.

Far better than anything The Red Hot Chili Peppers have put out since '99's Californication, John Frusciante's 10th solo record The Empyrean is a new high in his career. Its sound manages to be loud, blistering with top-notch guitar, but there is yet so much sensitivity to it, as it manages to carry out its concept in an unfailing manner. After so many consecutive releases in '04, Frusciante took his time with The Empyrean. And that paid off.

An excellent follow-up effort from the promising Australian quintet. Succesfully mixing alt rock with prog rock, Sounds Awake is solid overall, although needing a little more songwriting effort in the epics.

Megadeth is back with an excellent album chocked with agression, technical riffs, impressive solos and whatnot. This obviously won't be enough to rival the classics Peace Sells... and Rust in Peace, but the most remarkable feat here is putting out a true quality record that doesn't stray too far from 'Deth's roots and is still a fresh experience. Mustaine shows that some veteran metallers still have the chops.

Ozzy is lucky to have had such a solid backing band, or he would have never pulled off his solo
work, and this goes especially for his 'classic' debut Blizzard of Ozz. The Prince of
Darkness' first album surely features some catchy tunes like I Don't Know, the ever-popular Crazy Train, Mr. Crowley and Steal Away the Night, but Osbourne's voice does
not carry the album. Cuts like No Bone Movies only work because of the great
instrumentation, especially the guitar. Nevertheless, it is these combined elements that have
ultimately made Blizzard of Ozz quite memorable.

Osbourne's follow-up to his famous Blizzard of Ozz, the second and last record to be recorded with his original and arguably strongest backing formation, before guitarist's Rhandy Roads young death broke it apart, is yet another solid, although slightly less memorable moment in The Prince of Darkness' career. Diary of a Madman has, like its predecessor, its fair share of memorable tunes, especially in Over the Mountain, Flying High Again and the dark, somewhat epic closing title track. Fans of classic 80's metal will be enjoyed, but not amazed.

Dynamic is a great word to describe this particular 2010 release. The Black Keys are a dynamic duo, and Brothers is a dynamic album. Dan Auerbach and Patrick Carney play old blues with a new edge, and do so in a fashion that has both immediate likeability and real staying power. Laying down a perfect groove from the record's very first seconds, the music remains catchy and creative, from the high-register Everlasting Light, the funky attitude on Tighten Up, to terrific slower tracks as The Only One and Never Gonna Give You Up. To some it may slightly outstay its welcome, but ultimately, Brothers counts among the year's most memorable and charismatic moments, coming from a group that will likely continue to do well in the coming years.

Ever since it was first released, many have hailed Tommy as a masterpiece, especially for its concept and originality; it became a pioneering record for what would become known as the rock opera. The tale of the deaf, dumb and blind boy still has many fans today, and is one that only could have been created in its era. For The Who, the album caused not only a massive surge in fame (which would eventually become too much for them to bear), but also an important development in their music, which moved towards a more album-oriented approach, strongly influencing their to-be classics Who's Next and Quadrophenia. The latter is in many ways its superior, better crafted, musically more diverse and engaging, but Tommy will remain legendary despite its flaws: it can be a bit bare and unexciting in places, yet it contains some of very strong Who tunes: Overture, Amazing Journey, The Acid Queen, I'm Free, and the ever-iconic Pinball Wizard. Considering they were the first to do this kind of thing, The Who actually did a pretty terrific job at it.

Daniel Mongrain proves himself the ideal guitarist for Voivod here, truly capable of replacing Piggy. Even better, his addition seems to have inspired the band with enough fresh ideas to make what is possibly their best record since Nothingface. Target Earth definitely needs a couple of listens before it sinks in, but they're worth it.

In 2013, Amon Amarth release a consistent, thoroughly enjoyable melodic death metal album, adding to their catalogue of consistent and thoroughly enjoyable melodic death metal albums. It's business as usual.

Very solid progressive melodic death metal that has been influenced by many artists from the Scandinavian scene, especially Opeth. Stone's Reach gets on the repetitive side after the first two highlights Venator and From Scythe to Sceptre, but provides a necessary break with the short and acoustic Huks (there's your proof for the Opeth-influences), and closes off on a high note, with the truly worthy epic Countless Skies.

Although Black Sabbath's long-awaited comeback came out stronger than many had even dared to hope, their first album in nearly two decades is not without faults. In most aspects, 13 is tailored to please fans of the band's earlier, once groundbreaking sound. This intent in itself is hardly a cause for complaint, but the incomparable, dynamic heaviness that made Paranoid and Master of Reality the monumental records that they are is not something that is brought back easily. Bill Ward's absence is naturally disappointing, but Tony Iommi and Geezer Butler have always been Sabbath's musical backbone, and the two of them are still up to the task. Ozzy Osbourne's performance, his first full studio recording with Sabbath since 1978, is fairly decent, as good as can possibly be expected after all this time.

The overall content is very much worth returning to, even if the level of these compositions isn't always entirely up to scratch. A couple of songs tend to overstay their welcome, with too few different ideas between their 7-8 minutes. Ultimately however, 13's most serious flaw is its production. For all his encouragement towards the band to revisit the past, Rick Rubin seems oblivious to the very essence of their music, doing his awful best to sabotage the sound he claims to be reviving. Despite their commendable efforts, Black Sabbath fall as any other victim to the loudness war. It dampens the impact they could have made, unfortunately, but in the end the momentum is great enough to pull them through.

Since Scream Bloody Gore, Death has grown immensely. Their first album was seminal to the creation of the death metal genre, but considering what they have done since, it looks a bit pale in comparison. A consistently savage, heavily distorted guitar assault combined with Schuldiner's (also underdeveloped) menacing screams makes up for a lack of variation, as many of the riffs end up sounding the same, and the drumming patterns don't seem to change whatsoever. It was luckily only the beginning of better things to come, but gets bonus points for influence.

Vedder's work on a film soundtrack turns out to be a great start for his solo career, and proves to be a very relaxing listen. Ditching Pearl Jam's louder, rougher edges and rather opting for a folky approach that suits him just as well, Vedder created an album with more intimacy than could be realized with his work with the band. The advise is indeed simple: lay down and relax, and let Vedder's excellent voice and acoustic guitar take you away.

Tarkus ends up in the same pitfall Rush's 2112 would 5 years later: while the 20-minute epic title track is everything a progressive fan could wish for, the record's second half is considerably less interesting. Despite some good moments in Bitches Crystal, Infinite Space and A Time and A Place, the annoying Jeremy Bender and Are You Ready Eddy? feel very much out of place, making Tarkus uneven and not a pleasurable listen as a whole. It really is the title track that puts this up so high.

Once again, everyone's favourite folk/viking metal act Ensiferum release a solid slab of heroic tunes that will surely please fans of their other work. While indeed slightly more bombastic than we are used to, From Afar adds nothing really new to the table, but then again, who cares?

Let It Roll is the first George Harrison compilation that spans his entire post-Beatles career, and it's surprising it took this long to be released, especially considering his unfortunate death nearly ten years ago. The fact that his three biggest songs with the Fab Four are all live takes from his famous Concert for Bangladesh is very welcoming to this being a true solo overview, despite that they might be not as crisp as their studio originals, and with the great songs that George has created in his lifetime, this has potential to be a superb compilation. It's a pity (no pun intended) that the balance is a little off: the non-chronological order can be a mess, the album opening with his 80's smash Got My Mind Set On You, in order to jump around between what is mostly a selection from his major achievement All Things Must Pass, his comeback Cloud Nine, and his last record Brainwashed. It leaves little room for his work between 1970 and 1987 to breathe, which is a shame because it doesn't exactly make this a career overview. Complaints aside, George's music was, is, and will remain immortal. For longtime fans it won't make much of a difference, but for those who've never really looked into the man's solo career, Songs By George Harrison is an adequate introduction.

Helloween made a strong move for themselves with their latest record, combining the classic power metal sound that they pioneered with a strong dose of Painkiller. The result, Gambling with the Devil, is as good as it gets for the somewhat aged band, and contains some classic material in the form of Kill It and The Bells of the 7 Hells, next to some good old cheese.

The Final Frontier is the first Iron Maiden album in four years, so expectations were bound to be high. Although it is thoroughly enjoyable, it is also very predictable. The band continue the brand of epic heavy metal they've been practicing and developing since Brave New World, and since we've been treated with three full albums of that kind, surprise is never in the picture. Maiden have obviously slipped into a comfort zone by now, and while the material may be pretty similar to their latest albums, it doesn't feel lazy. Harris and the boys are still inspired to write great songs, even if the absence of real classics is a dissapointment. The Final Frontier is Maiden by the book, but that isn't such a bad thing: the book is still a great read.

The Incident more or less continues where Fear of a Blank Planet left off, but lacks the coherence of previous Porcupine Tree albums. It's a little ironic, given the fact that it is the band's first proper attempt at a concept. The music itself is of the high quality we have come to expect from Steven Wilson and consorts, but without an element that really binds it together, the record leaves something to be desired in the end.

My Iron Lung shows transition between Pablo Honey and The Bends, created in the days of Radiohead's more rockish era. Aside from the title track, which would later appear on The Bends, this has some seriously fantastic b-sides on it, most notably The Trickster. The acoustic Creep is one of the album's most interesting, although not entirely succesful moments, having Yorke providing more personal vocals at the cost of powerful instrumentation. Never got into anything post-OK Computer? Check this out.

Unfortunately Rainbow's first record suffers from an untalented input. Sure, Ritchie Blackmore is a fantastic guitar player, and also Dio is well known for his voice. The members that were with Rainbow on this first release though, the members from Elf (Dio's previous band), do nothing really interesting musically. The record is also very bluesy compared to later Rainbow (also caused by the presence of the Elf members). Still, after all, Rainbow's first 3 albums are Ritchie's and Dio's show, and those two also make this one a decent output. With the addition of Toney Carey, Cozey Powell and Jimmy Bain, they greatly topped it with Rising. Highlights here are Man on the Silver Mountain and Catch the Rainbow.

Red Hot Chili Peppers' Greatest Hits is an ideal package for newcomers to the band, and is obviously aimed at the mainstream audience. It doesn't span their early, pre-Mother's Milk-era, it contains only the more popular and accessible material from Blood Sugar Sex Magik, and most songs are from their, in the big audience's eye magnum opus Californication. It's exactly what can be expected of a compilation album created after By The Way, and remains a just about perfect overview of the band's more commercial work.

You can't help but feel American Slang is a slight dissapointment after the excellent The '59 Sound, but perhaps this record is just a logical progression for The Gaslight Anthem, who have crafted 10 fine songs headlined by Brian Fallon's usual charm, be they without the same sense of intensity the band has become known for. By no means, that is an entirely bad thing; American Slang succesfully shows another side to the band's sound, while maintaining the standard they have set with their two previous efforts.

A solid basis that served for their more refined, and therefore slightly better effort Stone's Reach, Be'Lakor's The Frail Tide is still raw in terms of writing, but already shows great promise for the Australian band, which incorporates progressive and aspects in their own brand of melodic death metal.

In the Air Tonight may be nothing less than a classic, but the remainder of Collins' solo debut Face Value definitely was a letdown. While some of the songs on the first half are quite enjoyable (Behind the Lines, Droned), the album dwindles, even closing with a rather awkward cover of The Beatles' Tomorrow Never Knows. While Collins' had fantastic potential to make wonderful pop songs, he only shows it on one of them here, and that doesn't make the affair all too interesting.

All three gentlemen on this here record have been capable of better things in their respective pasts, but that doesn't mean Them Crooked Vultures are not a decent band that created a decent record. A shame it is then, that this record never gets further off the ground than just being a nice listen. Homme is definitely taking the lead here, unsurprisingly, and if he perhaps had given space to the more Grohl- or Jones-ish waves of musical creativity, the sound of Them Crooked Vultures could have truly been the sum of its parts.

Uriah Heep has existed over 40 years; most of their members have passed 60; aside from
founding guitarist Mick Box and longtime bass player Trevor Bolder, none remain from the
golden 70's. This is hardly the same group that created the uniqe and iconic sound found on
the likes of Demons and Wizards. They're a bunch of old geezers past their prime, and
their sound is dated. It wouldn't have been wrong if they had quit already, but it's also
obvious they're still having fun making old-fashioned rock tunes. Into the Wild is
exactly what that sounds like. No surprises, a little monotonous at times, but a good album
with good songs.

Alter Bridge were described as a Creed-clone by some, and One Day Remains is what made that happen. While the album is home to some quite enjoyable songs like opener Find the Real, the material is too generic to make the appeal last, and cringe-inducing works such as In Loving Memory and Down to My Last also weigh it down significantly.

Even the best bands make bad albums, and Iron Maiden proves it with No Prayer for the Dying. The album is too bland and unispired overall, but what makes it even worse is that its the single Maiden album that contains none of their classics.

Some of these problematic tracks are opener Tailgunner, The Assasin, Hooks in You and Bring Your Daughter... to the Slaughter, the latter having charted surprisingly well for such a bad song. These tracks have all got the same problem. They are frustratingly repetitive and have boring choruses, and there seems to be no creative input in any of them. There are some excellent efforts on No Prayer for the Dying though, such as its title track.

It had to happen, right? Muse finally release a below-standard album, that can be best described as a collection of tracks that mix their earlier Orgin/Absolution sound with the newfound poppier direction on Black Holes, with weaker results than before. Add to that that Bellamy rips off both Queen's Bohemian Rhapsody (United States of Eurasia) and his own New Born (Unnatural Selection), and you've already got a letdown album. The closing epic Exogenesis Symphony is promising, and indeed very pretty, but altogether not consistenly impressive. Muse's eventual downfall was inevitable.

Ozzy's BACK on his new album Scream, on which he still excels at so many pointss, such as still not being able to sing and being a lousy songwriter. Lead single Let Me Hear You Scream was the most enjoyable song on this album. That should say enough.

Despite Serj Tankian's unique voice and performance, as well as some very good moments in the form of Chop Suey!, Forest, Science and Toxicity, System of a Down's immensely popular album does, in the end, not have it all. Their chaotic structures tend to work at times, but the record is inevitably barred by the subpar, repetitive performance of the guitarists, who churn out overly similar riffs that tend to get boring far too soon.

You think you are wise, BTBAM, yet for all your riffage you have not actual good music. Do you think the ears of every Sputnik user are deaf? I have heard more than you know. With your great riffing you would distract me, and with your awful vocals and unstructured prog you would seek to supplant me! I know that which fares well with the majority of Sputnik. Oh yes! Word has reached my ears of this Colors, so-called 'classic', and I tell you now: 'I will not bow to this metal disgrace, last of a ragged house, long bereft of lordship!'

These guys have one major problem, and just one. They are not very much original. In any way. At all. And yeah, I'm still making an understatement. Sure, DragonForce may have the two fastest guitarists in the world, that doesn't make them GOOD. Well, it did, in fact, with their first album, which was alright, and their second, which was great. Their sound could be called refreshing even, they were a 'one of a kind' band, really. The potential was there, but where DragonForce doesn't sound like anyone else, this 4th record make them sound too much like themselves. Again. And that, frankly enough, is unforgivable. If they pull of this trick again with their next, I will be forced to give them even lower than this.

Bat Out of Hell was a fantastic album. It may have been over-the-top, but that was what made it fun. Hang Cool Teddy Bear is just an overblown record that tries to be loud and epic and ends up sounding, very, very silly and ridiculous. The guest appearences change nothing to that, or instead even worsen the problem at hand. My advice is that Meat Loaf had best stop creating new music and continue acting and performing the great tunes he once made. Please, we don't want another Hang Cool Teddy Bear.

Aside from trying too hard to sound epic, 30 Seconds to Mars' newest record This is War lack the simplest of things: a sufficient amount of good material. Though Leto manages to start things up in a well enough manner with Escape and follows it up with three single-worthy tunes in Night of the Hunter, Kings and Queens and the title track, This is War goes steadily downhill soon afterwards. Hurricane is already pretty bland, but the band reaches an all-time creative low when the they hit Search and Destroy. Ballad Alibi is the last to just make the mark, until the album crashes down will all-or-nothing attempt Stranger in a Strange Land, which tries to make things even more epic than the sum of all that came before it. In the end, This is War fell down just as much as it tried to stand up.

Heaven & Earth will have you spending 52 minutes waiting for something remotely interesting to happen. Sadly, it never does. The band that is still calling themselves Yes these days will need something more than a new singer to find their stranded creativity. Ironically, even with someone who sounds closer to Jon Anderson than his two previous replacements, these old men have never sounded less like themselves.

Were this their third release or so, 3 Doors Down's new album could be observed as an unfortunate, surely temporary creative low. Kryptonite and most of their other good songs are 10 years behind us, however, and Time of My Life is rather creatively dead. It is always a sad thing when a band makes such a blantantly obvious attempt at recycling their own songs, simply because they've got zero new ideas coming out of the way. Not to worry though, it's not like their audience will hear the difference.

Back with more AC/DC ripoffs and predictable songwriting, that is. Runnin' Wild was, to some extent, fun, but after hearing it, we already knew that following it up was a doomed effort from the start. No Guts. No Glory. hasn't even got a single standout, something that made its predecessor bearable, and ends up being a very, very average hard rock record. VERY average.